Simone Reutens Delikan co-wrote and co-directed The Mourning After

Theatrical acting and directing is nothing new to Simone.  In her second year at university, Simone directed “Creditors” by Strindberg and acted in “Rooms” by Amelia Lapena.  During her school days, she was also involved in numerous plays and solo-acting competitions.

Simone, 25, presently a tutor at University Malaya, believes that the wonderful manner in which all team members have been working with each other glues the play together.

“Although the actors/actresses are the ones the audience will see in action, there has been a lot of work behind the scenes, which The Mourning After wouldn’t exist in the first place," she says.

“If we make just one person in the audience think about what he/she is doing, and if, in the process, this stops that person from making a costly mistake, we will have succeeded – all the work put into the play will have been worth it!”

Richard Jacobson co-wrote and co-directed The Mourning After

Richard, 25, a research analyst, directed De La Salle – the musical in 1993 and played the role of St Francis Xavier in The Jesuit Twin Celebration musical play, Franigo In The New Horizon a few years earlier.

“I’m not out to preach these themes to anybody.  I believe our mission is simply to present the current situation for the audience to go home and to think about. 

It’s up to each individual to pick up what they want from the play.

We’re not telling you what’s right or what’s wrong – it’s up to you to decide.”

Michael Raj produced The Mourning After

In the last 15 years, Mike has been deeply committed to organising significant activities for the Good Shepherd Catholic Church. He also acted in various church plays from 1980-1988, produced a few from 1989-1992 and was involved in directing two plays from 1993-1994.

Mike, 32, believes The Mourning After is an excellent opportunity for the cast to reach out and to send a message of hope to the Catholic youths all over Kuala Lumpur.

“Our play aims to create an awareness in society today to be more caring, and not to be too judgmental or too easy,” says Mike. 

“Values need to be upheld through compassion, love, understanding and forgiveness. Youths, who go through tussles in life, need patience and understanding, not condemnations or accusations.

We need to forgive, just as Jesus Christ unconditionally forgives.”

“Perhaps its also time we changed the old phrase ‘Prevention is better than cure’ to ‘Abstinence is better than prevention’. 

Maybe then, things will be better.”

Tremayne Joginder (Transport)

Everyone calls Tremayne “Terry” – only a handful of people in this world call him by his difficult-to-spell real name.

“I’m working in the hotel industry, but somehow, I’ve become a taxi driver for the cast – the only thing is that I don’t have a meter,” says Terry, 26. 

“Transport Manager is a real fancy name for a mere cab driver.  Actually, I personally prefer the title Transport Minister.”

“It’s no big deal.  I’m helping, giving, sharing, and, like everybody else in the play, I’m not expecting anything in return,” he says.

“I strive for happiness because I don’t want to be sad.”

Ronald Lee (Marketing)

Ronald, whose professional career is also in the marketing area, spearheaded and co-ordinated the various sales teams that laboured in selling play tickets to all the churches in KL and PJ.

“From a selling point-of-view, it has been tough,” says Ronald.  “My word of thanks to all who have contributed to the sales of the tickets. 

Your time shared with us is deeply appreciated as we make this play a success together.”

“The time I’ve spent and the sacrifices that I’ve made is my contribution to the development of the youths of Good Shepherd,” he says.

Rienzie Delikan (Stage)

Rienzie was stage manager for Malam Kebudayaan ’89 and the United Nations Declaration of Human Rights 1988-89 events.

“My work gets more intense as the play opening draws nearer – I’ve been having less hours if sleep and lots more worrying,” says Rienzie. 

“There is so much of co-ordination to do, from lighting and sound of the play, to the props, to the positioning of actors.”

“He says, “Everything falls in line when we help each other and work as a team, rather than when we throw out destructive criticism. 

Together, we will sink or we will float. 

In the last few months, I’ve learnt not to judge, but to stand up and do something.”

Andre Reutens (Logistics)

Andre must be every cast member’s favourite person – without him, the cast would be a starving lot.

“I feel a hint of spirituality driving me to take care of the cast and stagehands in providing them with food and drinks during all the rehearsals,” says Andre.

“Life is more fragile for me now,” he says. 
“Anything can happen when morals are down. 

I’m good with the consumerism issue. I don’t waste money buying things I don’t need – I’m just fine with my jeans and slippers.”

“Never confuse me…I hate complicated situations.”

Linda Le (Costume & Make-Up)

Linda, forty-something, ICU Head Nurse at the National Heart Institute, gave up “affairs of the heart” for a while to head Costume and Make-Up.  Roped in at the eleventh hour, she was the last person Anita, the Asst. Producer approached who did not say “No”.

Had no previous experience in the area of Costume but does use make-up herself and simply loves beautiful clothes.  Linda admitted it was fortunate the play is contemporary thus sparing her and the other team members the need to research and design.

She said, “My incidental involvement in this play has helped me to gain an insight into the commitment of the youths involved in the play, one of whom is my son.

They feel very strongly about the disintegration of values in today’s society and the need to do something about it.

As one of the elders, I feel the moral obligation to assist them in getting their message across.”

Sharon Cheah (Souvenir Programme)

Sharon’s first love is writing (&eating & her baby brother &…etc…), so what better way to reach out than through working on the Souvenir Programme?

“Life, for me, is like the haunting music of Tori Amos – what’s unbelieving beautiful is normally what you’ve got to strive to understand,” says Sharon, 24, who works in a public relations consultancy.

“The Mourning After has merely drawn out a few problem areas.  There are many other issues out in the world today, namely homosexuality and violence in women, that face the same, shameful kind of ignorance and a lack of awareness.

We need to be more positively aware, and not frightened of everything.  We must start with ourselves.”

“Yes, I did dye my hair.  And no, the Kancil will not turn over.”

Kevin Le (Publicity)

While working on The Mourning After, Kevin, 24, observed that the generation gap was bridged by youths and ‘dinosaur’ youths alike.

“There was a common goal realised between us. They saw our needs, and aspirations and we in turn, did more housework for them,” further adding, 

“Seriously though, the parents were in full support of whatever we do.”

Sharon Anne Paul (Music)

Sharon Paul, 19, spent the last 4 months creating the “dark and haunting” music that epitomises The Mourning After.

“It was strange because I had to be depressed and ‘in the dark ages’ when coming up with the music,” Sharon Paul says.

“I did lots of research in sounds and effects to come up with abstract any mysterious tunes and effects that suit the seriousness of the play’s topics and bring out the depth of Hope’s frustrated emotions. 

Surprisingly though, the toughest part was producing ‘happy’ music for the dance.”

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